This makes one ponder if there are similarities between classical music and some of the music Fleck has played in the past. If so, what are the distinctions between improvisational and classical music? What brings those two worlds together?
“In classical music these days,” offered Fleck, “the improvisation is not about the notes played; it’s about what you do with those notes spontaneously—the feel, the nuance. These can be different every time. In the old days, classical musicians did improvise cadenzas. In jazz and bluegrass and Indian music, improvisation is a key element and is taught, and expected. That being said, it is the same twelve notes that we are talking about.”
Which, again, brings it all back home to why Fleck would dedicate his new concerto to another legendary banjoist, Earl Scruggs. “I would not have played the banjo at all, if it were not for Earl,” admitted Fleck, “so that’s one thing. His innovative and soulful style set the stage for the modern banjo. All the roads that I travel, he traveled before me. So it isn’t that this is a bluegrass banjo concerto or something written using Earl’s language, but none of it could have happened without Earl. Everything I do is built on his foundation.”
And when the thoughts turn to the banjo in question, inevitably Fleck’s choice comes to mind as being another source of artistic pride and joy. “The banjo that I play is a 1937 Gibson Mastertone Style 75,” detailed Fleck. “It is called a Style 75 because it cost $75 in those days! Now it is worth more like $90,000. But the real worth is in its sound. This banjo has been my friend since 1981, and its amazing sound and depth has become my voice. I can get a variety of tones out of it and it projects really well and can be set up to be very dark and non abrasive while still staying very clear. I love that instrument.”
Fleck’s eclectic tastes in collaboration go far beyond the “variety of tones” he can conjure from his 1937 Gibson Masterton Style 75. For example, one of his most inspired collaborations dates back 30 years. “I have been playing with Edgar Meyer since the early 1980’s,” explained Fleck, “and he inspires and pushes me, and I try to do the same
for him. Zakir Hussain came into it when we got to write our triple concerto, and I certainly learned a lot getting to write with them both. Then we went out and did a lot of trio touring, where we could really improvise and develop that part of our collaboration.”
Recently, he also worked on a film project, which offered a unique look into the origins of the banjo in Africa, while exploring a little known musical culture in 2009’s Throw Down Your Heart —a familial affair, directed by Fleck’s brother, Sascha Paladino. “That was one of the greatest things I have experienced,” enthused Fleck, “and in a lot of different ways. Collaborating with these fantastic musicians—and people—from Africa was very precious. I miss them too! It’s too bad all of these projects can’t go on forever, but the fact that they are for defined periods does really make it special. And this Flecktone reunion proves that you can go back home!”
Those sorts of collaborations infuse his current work, as well, as the juggling of concerto/symphonic work and Flecktones’ full tour card attests. “Flecktones play through April [2012],” explained Fleck, “and then we are done for this project. I already miss the guys, and we still have six months to go! I am getting opportunities to play the concerto, and hope that I will be doing a lot of that in fall and spring.”
The legendary banjo player has created an impressive array of composed and improvisational music, which spans several decades at this point. The creative line is still very much open to his muse after all these years, and that sense of purpose, that note of wonder, whether it be a piece for four, six, or an entire symphony coupled with a banjo, continues for the musician as he heads into 2012 after another creatively-impressive year. “I think the trick for me is to stay engaged,” concluded Fleck, “and always have something off in the distance to be excited about. If I am always doing something special, and thinking about something special for the future, it is an awesome life.”
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